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Watched on Tuesday May 27, 2025.

Watched on Monday May 26, 2025.

Watched on Sunday May 25, 2025.

Watched on Friday May 23, 2025.

Watched on Wednesday May 21, 2025.

Watched on Monday May 19, 2025.

Watched on Saturday May 17, 2025.

Watched on Sunday May 18, 2025.

Watched on Friday May 16, 2025.

Watched on Thursday May 15, 2025.

When Alan Parrish finds a mysterious board game buried at a construction site, his life changes forever.

American fantasy movie directed by Joe Johnston and written by Jonathan Hensleigh, Greg Taylor & Jim Strain.

Based on the 1981 children's picture book of the same name written by Chris Van Allsburg.

The plot takes the main elements from the source material and with the addition of new adult characters weaves its own tale that presents the viewer a movie that though a little thin in places, still offers a decent amount of fun even after multiple viewings.

The production values are excellent throughout, with the attention to detail of the set designs and beautiful New Hampshire externals adding layers to the overall look.

The special effects are used in full force and though every sequence is beautifully realised, the lack of a strong story to back up the board game unleashing each hazard does make the viewer feel it is just one set-piece after another.

The soundtrack composed by James Horner is well written and the overall soundscape compliments the on-screen antics perfectly.

The small cast play their roles to the max, with each character being given time to shine, and though there are some stellar performances from Kirsten Dunst, David Alan Grier & Bonnie Hunt, the focus is always going to be on Robin Williams in the lead role, and though he was not first choice due to his reputation for improvisation, he understood the role perfectly and filmed the scenes as outlined in the script, which though it does lead to a very good performance by him, the pathos he portrays whilst there is chaos all around him feels a little out of place at times.

All in all, Jumanji is not a perfect movie and went through extensive rewrites to get Robin Williams to agree to appear, it still has an underwhelming story that relies way too heavily on special effects, but the result is still a fun little movie that does exactly what it says on the tin and is incredibly easy to watch.

Watched on Thursday May 8, 2025.

Watched on Wednesday May 7, 2025.

Watched on Wednesday May 7, 2025.

Watched on Tuesday May 6, 2025.

Watched on Monday May 5, 2025.

When Rain Carradine and her friends try to escape the harsh conditions of LV-410, they discover an abandoned Weyland-Yutani station in orbit.

American horror movie directed by Fede Álvarez and co-written with Rodo Sayagues.

Acting as the seventh entry in the cult series based on characters and events created by Dan O'Bannon and Ronald Shusett.

The plot takes place twenty years after the events of the original and what could have been nothing more than a meaningless slot-in story instead becomes a connected masterpiece that seamlessly follows on from Alien whilst continuing story elements set up in Prometheus & Covenant and managing to allude to elements that would appear in Aliens, whilst still managing to tell its own incredibly well written and totally individual tale, and the result is a triumph that never fails to deliver.

The production values are excellent throughout, with the attention to detail of the set designs ensuring they slot in correctly within the timeline adding layers to the overall look.

The special effects are used in full force with all the trademark chaos firmly in place, and though every sequence is beautifully realised, a special mention must be made to Legacy Effects for their outstanding Xenomorph design that takes H.R. Giger's original to the next level.

The soundtrack composed by Benjamin Wallfisch is beautifully written and includes many themes & cues from previous installments to add to the overall feeling of connection, and the overall soundscape compliments the on-screen story perfectly.

The small cast play their roles to the max with even the minor characters being given time to shine, and though everyone involved gives stellar performances, special mention needs to be made to Cailee Spaeny and David Jonsson in the lead roles and Daniel Betts as Rook.

All in all, Alien : Romulus is as near to a perfect movie as one can get and it is obvious to see the love for the project that Fede Álvarez puts into every scene, and along with it's gripping story and amazing attention to detail, the result not only seamlessly fits in as the new sequel to Alien, but also manages to weave in the Prometheus & Covenant story arc to present the viewer with an amazing entry in the cult series.

Watched on Tuesday April 22, 2025.

Watched on Monday April 21, 2025.

Watched on Saturday April 19, 2025.

Watched on Friday April 18, 2025.

Watched on Thursday April 17, 2025.

Watched on Monday April 14, 2025.

Watched on Sunday April 13, 2025.

Watched on Saturday April 12, 2025.

Watched on Friday April 11, 2025.

Watched on Wednesday April 9, 2025.

When Dr. Alexander Hartdegen's fiancée is killed by a mugger, he uses all his scientific knowledge to turn back time.

American science fiction film directed by Simon Wells and written by John Logan.

Loosely based on the 1895 novella of the same name written by H.G. Wells and the 1960 film of the same name written by David Duncan.

The story starts well, giving a lot more depth to the main character with the introduction of a love interest and though the time travel sequences themselves are incredibly well handled, when these are over things rapidly lose all connection with the source material, presenting the viewer a movie that though it tries to feel epic is really nothing more than a generic good versus evil action story with a particularly underdeveloped villain.

The production values are excellent throughout, with the attention to detail of the set designs adding layers to the overall look.

The special effects are used sporadically, and though the time travelling sequence is beautifully created by Industrial Light & Magic, their CGI versions of the Morlocks do look a bit cartoonish when compared by the physical effects created by Stan Winston Studio.

The soundtrack composed by Klaus Badelt is well written, with the overall soundscape complimenting the on-screen antics perfectly.

The cast play their roles with varying degrees of success and though a majority of the characters are utterly disposable, there are still some good performances from Guy Pearce, Samantha Mumba & Orlando Jones, but this is all horribly let down by Jeremy Irons as the Morlock Leader, which is such an underdeveloped villain, that all he can do is snarl and be British.

All in all, The Time Machine is not a perfect movie and though it attempts to take its source materials in a different direction, the result feels a little confusing as it shifts from a very bookish man trying to save a person's life to an unrepentant man that destroys a lot of lives and briefly fights a monster, and though the result is still entertaining it does not come anywhere close in of storytelling to either the original novella or the previous movie adaptation.

Watched on Monday April 7, 2025.

When Henry Turner discovers a way to release his father, he searches out Captain Jack Sparrow for help.

American swashbuckler directed by Joachim Rønning & Espen Sandberg and written by Jeff Nathanson & Terry Rossio.

Fifth entry in the series based on characters and events created by Ted Elliott, Terry Rossio, Stuart Beattie & Jay Wolpert, which was originally inspired by the iconic Walt Disney theme park attraction of the same name.

The plot takes place five years after the events of its predecessor, and though it mentions certain aspects, becomes more a direct sequel to At World's End, which has been slightly retold to fit in the continued narrative, and though it still starts off with the trademark wisecracks and silliness, as the storyline unfolds it soon becomes apparent that the returning characters are only there to battle the villain, whilst the main story revolves around the younger characters, and this is where things begin to unravel very quickly, devolving into pure fantasy that just becomes one extreme CG sequence after another, leading to an ending that really was never needed, and a post credits sequence that makes absolutely no sense.

The production values are excellent throughout, with the attention to detail of the set designs adding layers to the overall look.

The special effects are used in full force, and though some of the designs are very well handled, there is just way too much and with everything having a quite cartoonish look, it removes all the realism that made its predecessors so enjoyable,

The soundtrack composed by Geoff Zanelli is well written and the overall soundscape compliments the on-screen antics perfectly.

The cast play their roles with varying degrees of success, and though a majority of the story revolves around the new characters, they are given no time to grow and feel completely disposable, and though it is good to see Johnny Depp & Geoffrey Rush returning, their characters feel so diluted they almost bare no resemblance to themselves, all of which is even further hampered by a less than stellar performance from Javier Bardem as the villain.

All in all, Pirates Of The Caribbean : Salazar's Revenge is not a perfect film and does suffer from an incredibly weak storyline that removes all the expert storytelling that made its predecessors so good, replacing it with an escalated scale of cartoonish CGI and as it lumbers towards the finale, it leaves the viewer with the definite feeling that this an entry that did not need to made and causes more harm than good to a franchise that has always been incredibly entertaining.

Watched on Thursday April 3, 2025.

Watched on Wednesday April 2, 2025.

Watched on Tuesday April 1, 2025.

Watched on Sunday March 30, 2025.

After watching Mike having the golden sphere removed, Reggie enters the gate in search of The Tall Man.

American horror film directed by David Hartman and co-written with
Don Coscarelli.

Fifth entry in the cult series based on characters and events created by Don Coscarelli, and also marking the first time he does not direct himself.

The plot opens directly after the events of its predecessor and it starts off strong with a much grander storyline unfolding focussing more on Reggie and his battle with reality, presenting the viewer with a mind-bending entry that is full of action whilst still touching on real life subjects such as loss, friendship and mental illness and leaving the slightly unsure as to what was finally real or not, and though David Hartman brings a different look and feel , it firmly keeps to the lore and tropes that has made the series so wildly loved.

The production values are excellent throughout, with the attention to detail of the set designs adding layers to the overall look.

The special effects are used in full force with all the trademark chaos firmly in place, and though all the spheres are beautifully designed, the visualisation of The Tall Man's dimension does look quite cartoonishly over the top.

The soundtrack composed by Christopher L. Stone is incredibly well written and the overall soundscape compliments the on-screen antics perfectly.

The cast play their roles to the max, and though a couple of the new characters feel a little silly, there are some stellar performances from the returning Reggie Bannister, A. Michael Baldwin & Bill Thornbury and of course special mention needs to go to Angus Scrimm as the iconic Tall Man, in what would be his penultimate on-screen role.

All in all, Phantasm : Ravager is a great film, but only for fans of the series and though it does suffer from a lack of cohesiveness and uses a large amount of outtakes from its four predecessors, it still manages to present the veteran viewer with a much escalated story that not only leaves one wanting more, but also with a slight sense of unease as to whether any of the events were just the product of a brain in cognitive decline, and though like all its predecessors it never truly ends, the sad death of Angus Scrimm the same year meant this became the last entry in the series and is an amazingly fitting end to a true icon of horror.

Watched on Sunday March 23, 2025.

Watched on Saturday March 22, 2025.

Watched on Saturday March 22, 2025.

Watched on Friday March 21, 2025.

When Marlin's son is abducted by divers, he sets out on an epic journey to find him.

American animated adventure directed by Andrew Stanton and co-written with Bob Peterson & David Reynolds.

Pixar movie inspired by the director's childhood visits to the dentist to see the fish tank.

The story starts strongly, dropping the viewer straight into the fish civilisation of the titular character, taking the ideas of loss, love and freedom to weave an amazing adventure that has a slightly more adult feel, but is still full of over the top characters, fantastic comedy and action that never looks dated and holds up even after multiple viewings.

The production values are of the highest order, with the beautiful CGI having the perfect mix of visuals and design that are a joy to behold and adds layers to the movie.

The soundtrack composed by Thomas Newman is incredibly well written with overall soundscape complimenting the on-screen antics perfectly.

The cast play their roles to the max, with each character given enough time to shine, and though everyone involved enhances the movie, there are some stellar performances from Albert Brooks, Ellen DeGeneres, Alexander Gould and Willem Dafoe, all of which can never be forgotten.

All in all, Finding Nero is a classic movie that works on every level and though having a trademark Pixar story that deals with slightly more adult themes, this is taken into the stratosphere by the action, characters and comedy that are all timed to perfection and a perfect vehicle for all those involved, and though film's use of clownfish prompted mass purchase of the fish breed as pets in the United States, this is still a classic piece of animation that became the first Pixar film to win the Best Animated Feature category at the Academy Awards and rightly deserves all the positive reviews and accolades it has been given.

Watched on Tuesday March 18, 2025.

Watched on Tuesday March 18, 2025.

When K retires a rogue Nexus-8 replicant, he soon discovers a secret that could shake the entire world.

American science fiction film directed by Denis Villeneuve and written by Hampton Fancher & Michael Green.

Acting as the sequel to the cult 1982 classic based on the 1968 novel Do Androids Dream Of Electric Sheep? written by Philip K. Dick.

The plot takes place thirty years after the events of its predecessor and is immediately an exercise in style over substance, presenting the viewer a movie that tries to keep the same dystopian themes and locations, but even though the story is lot more expanded, it still feels very lightweight when compared to what has come before, feeling heavily padded in places with the main characters just moving from one location to another talking a lot, and centering the story on replicants does lose a lot of emotion, with the human characters just fading away into the background.

The production values are of the highest order, and though the visuals and attention to detail of the set design try to continue the look and feel of what has come before, it all feels a little over the top, especially the partial nudity that seems there for absolutely no reason.

The special effects are used in full force and whilst trying to keep true to its predecessor, it presents some beautiful rain soaked sequences, but the Las Vegas sequence is way too much and looks utterly artificial.

The soundtrack composed by Hans Zimmer & Benjamin Wallfisch is well written, reimagining some of Vangelis' original work for key scenes, and the overall soundscape compliments the on-screen antics perfectly.

The cast play their roles with varying degrees of success and though a majority of the characters are utterly disposable, there are still some good performances from Ana de Armas and Sylvia Hoeks, but Jared Leto is completely forgettable and the lack of chemistry between Ryan Gosling and Harrison Ford dilutes their scenes severely.

All in all, Blade Runner 2049 is not a perfect movie and definitely falls into the category of sequels that really didn't need to be made, and with a running time of over two and a half hours, it feels incredibly padded out in places and along with the conflicted pacing and tonal shifts dilutes the story even more and one would have to agree with Ridley Scott's thoughts that thirty minutes could have been easily taken out.

Watched on Thursday March 13, 2025.

When Average Joe's Gym faces foreclosure, the owner forms a dodgeball team in hopes of winning the grand prize.

American comedy directed and written by Rawson Marshall Thurber.

The story starts off strongly lampooning large health club franchises, and what unfolds is a slightly offensive comedy revolving around a bunch of misfits trying to win the day, whilst touching on real life issues such as corporate power, self-empowerment & friendship, all of which result in a movie that manages to stand up, even after multiple viewings.

The production values are of the highest order, and the mix of visuals and the attention to detail of the set design are a joy to behold adding layers to the movie.

The soundtrack composed by Theodore Shapiro is well written, with the overall soundscape complimenting the on-screen antics perfectly.

The small cast play their roles to the max, with all the characters given time to shine and though there are sterling performances from everyone involved, there is a slight lack of chemistry between Vince Vaughn and Christine Taylor that does dilute what little romantic angle there is to next to nothing.

All in all, DodgeBall is not a perfect movie and though the finale had to be rewritten when the original was viewed badly by test audiences, the result is still an excellent goofball comedy that has some great performances and is incredibly easy to watch.

Watched on Sunday March 9, 2025.

When the counselors and campers of Camp Stonewater take a canoe trip to Devil's Creek, they soon discover that some local legends are true.

American horror directed by Tony Maylam and co-written with Bob Weinstein, Peter Lawrence, Brad Grey & Harvey Weinstein.

Loosely based on the New York urban legend of the Cropsey maniac.

The plot starts off well and follows all the normal slasher tropes of a disfigured killer, sexual teen campers and a remote location, but as things unfolds it presents the viewer with an incredibly well written story that takes its time, focussing a lot more on the younger characters as opposed to just treating them as cannon fodder as was the norm at the time, and though it does become very generic towards the end, the overall look and feel is much more polished and it never fails to deliver, even after multiple viewings.

The production values are excellent throughout, with the attention to detail of the set designs adding layers to the overall look, especially the shock sequences.

The special effects are used liberally and each gore scene is beautifully designed & executed by the legendary Tom Savini, all of which add layers and are a joy to behold.

The soundtrack composed by Rick Wakeman is incredibly well written, with the overall soundscape reminiscent of the italian style of horror that compliments the on-screen antics perfectly.

The small cast play their roles to the max with even the minor characters being given time to shine, and though everyone involved gives stellar performances, special mention needs to go to the debuting Jason Alexander, Fisher Stevens & Holly Hunter who all went on to much bigger things.

All in all, The Burning is not a perfect movie and is very much a product of its time and though unfairly compared to the first two entries in the Friday The 13th series by critics, it has a much larger feel when compared to the overall slasher genre at the time, especially with it almost emulating the european style of camera work and soundtrack, and though it does follow many of the expected norms and has the misfortune of having Harvey Weinstein's name attached to it, the result is still a classic of the genre that fully deserves the cult status it has been awarded in later years.

Watched on Wednesday March 5, 2025.

Watched on Tuesday March 4, 2025.

Watched on Tuesday March 4, 2025.